What do you think?
Rate this book
D'Art d'Art !
D'Art d'Art !
Les plus grandes oeuvres d´art, les plus grands artistes, 1 minute 15 de discours et plein d´humour, voilà le secret de D´Art d´art!, l´émision désormais culte de France 2. L´envers du décor rien que pour vous, les dessous de l´art expliqués à tous. Nul besoin d´être spécialiste pour désormais comprendre l´art contemporain aussi bien que l´impressionisme et apprécier tout autant Arcimboldo que Picasso. 150 oeuvres vous dévoilent ici leur histoire... pour l´amour de l´art!
- GenresArtNonfiction
320 pages, Paperback
First published October 8, 2008
2 people are currently reading
18 people want to read
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 3 of 3 reviews
August 3, 2011
La retranscription des émissions bien connues.Cadeau de mon frère pour Noel.
Une première approche d'oeuvres d'art à part égale entre Antiquité/Moyen-Age/Renaissance/Early Modern/Art moderne et contemporain et Sculpture/Peinture même si cette dernière se paye la part du lion comme support artistique le plus légitimé.
Résumé efficace autour de l'auteur de l'oeuvre/ son contexte d'élaboration et plus rarement quelques pistes d'analyse iconographique.
Parfois tellement bien tourné qu'on en oublierait presque que l'oeuvre justifie le commentaire et qu'elle est donc plus qu'une simple illustration.
Demeure une excellente première approche autour d'oeuvres et d'artistes moins connus (Je pense notamment aux peintres naifs) qui pourront faire l'objet d'une commande spécifique au Père Noel...pour 2009!
Une première approche d'oeuvres d'art à part égale entre Antiquité/Moyen-Age/Renaissance/Early Modern/Art moderne et contemporain et Sculpture/Peinture même si cette dernière se paye la part du lion comme support artistique le plus légitimé.
Résumé efficace autour de l'auteur de l'oeuvre/ son contexte d'élaboration et plus rarement quelques pistes d'analyse iconographique.
Parfois tellement bien tourné qu'on en oublierait presque que l'oeuvre justifie le commentaire et qu'elle est donc plus qu'une simple illustration.
Demeure une excellente première approche autour d'oeuvres et d'artistes moins connus (Je pense notamment aux peintres naifs) qui pourront faire l'objet d'une commande spécifique au Père Noel...pour 2009!
September 6, 2020
Une œuvre d’art, une double page.
Un moyen sympathique d’être confronté régulièrement à des classiques d’art plastique de toute époque. 150 œuvres sont ici commentées avec humour et légèreté sans simplisme.
Ne pas s’attendre à ce que cet ouvrage nous livre autre chose qu’une connaissance anecdotique de l’histoire de l’art.
Un moyen sympathique d’être confronté régulièrement à des classiques d’art plastique de toute époque. 150 œuvres sont ici commentées avec humour et légèreté sans simplisme.
Ne pas s’attendre à ce que cet ouvrage nous livre autre chose qu’une connaissance anecdotique de l’histoire de l’art.
February 7, 2013
In general I agree with Anabelle Allouch´s review: this is an interesting introduction to works of art which makes a worthy effort at balancing historical periods, sculpture/painting with a symbolic inclusion of other arts (ceramics, tapestry, videoart), including women artists. Since it includes only works in French collections, there is a tendency to under-represent artists who are not french or did not work in France.
Latinamerican, african and austrolasian art are conspicuously missing -a particularly unfortunate example is the inclusion of a 17th century dutch artist´s impression of Brazil, which manages to reproduce the overall quality of a european landscape in spite of its painstaking, catalog-like inclusion of two different types of palm trees, a coconut tree, a pineapple shrub, a yagrumo tree, a strolling giant anteater, parrots, a hawk and an alarmed armadillo (Frans Post: La demeure d´un labrador au Brésil). A particularly eurocentric arrogance is also lamentably included in the text on a sacred Kono icon (Animal sacré du Kono which simply recounts a how, in 1931, a french expeditioner, Michel Leiris, bullied, cajoled, threatened, lied and ultimately stole the icon from the african village of Dyabougou under cover of darkness: On se sent tout de même joliment sûr de soi lorsqu´on est Blanc et qu´on tient un couteau dans la main ("I felt jolly sure of myself because I was White and held a knife in my hand").
However, in all fairnes, I must admit there are are also many excellent texts such as the outstanding analysis of André Derain´s Arlequin et Pierrot which poingnantly describes how the painting transposes the painter´s feeling of alienation by depicting two depressed clowns, strumming stringless string instruments in the midst of a desert and the moving tribute to AIDS victim, graffitti artist and painter Keith Haring.
Each entry corresponds to a one and a quarter minute television video designed to grab the attention of televiewers: thus the main text tends to the sensational, the amusing, the memorable sound bite and the quirky, odd fact, usually studded with question marks and breathless exclamation marks -which I personally find a little annoying, but which the authors or transcribers presumably feel help the program reach its (more youthful?) audience. Curiously the more contemporary works of art are, in general, accompanied by more sober and serious texts; as one of many examples, contrast the entry on Claude Viallat untitled painting and the entry on the mummy of a crocodile, where the authors laughingly point out that such sacred crocodiles had golden earrings and bracelets on its front paws: "as in a Walt Disney film.".
As Anabelle Allouch also points out, each entry includes a brief and reasonable biographical sketch, some context about the creation of the work, a full page reproduction of a work and an accompanying text which is unfortunately ocasionally pushed towards oblivion, since they are sometimes sometimes far too small and sometimes set aside by the startling, mind-grabbing text. Its a pity that the text rarely includes visual clues to help analyze or better appreciate the works themselves.
Finally, I strongly urge the reader to watch the videos of the series, which can all be found at its France 2 site.
Latinamerican, african and austrolasian art are conspicuously missing -a particularly unfortunate example is the inclusion of a 17th century dutch artist´s impression of Brazil, which manages to reproduce the overall quality of a european landscape in spite of its painstaking, catalog-like inclusion of two different types of palm trees, a coconut tree, a pineapple shrub, a yagrumo tree, a strolling giant anteater, parrots, a hawk and an alarmed armadillo (Frans Post: La demeure d´un labrador au Brésil). A particularly eurocentric arrogance is also lamentably included in the text on a sacred Kono icon (Animal sacré du Kono which simply recounts a how, in 1931, a french expeditioner, Michel Leiris, bullied, cajoled, threatened, lied and ultimately stole the icon from the african village of Dyabougou under cover of darkness: On se sent tout de même joliment sûr de soi lorsqu´on est Blanc et qu´on tient un couteau dans la main ("I felt jolly sure of myself because I was White and held a knife in my hand").
However, in all fairnes, I must admit there are are also many excellent texts such as the outstanding analysis of André Derain´s Arlequin et Pierrot which poingnantly describes how the painting transposes the painter´s feeling of alienation by depicting two depressed clowns, strumming stringless string instruments in the midst of a desert and the moving tribute to AIDS victim, graffitti artist and painter Keith Haring.
Each entry corresponds to a one and a quarter minute television video designed to grab the attention of televiewers: thus the main text tends to the sensational, the amusing, the memorable sound bite and the quirky, odd fact, usually studded with question marks and breathless exclamation marks -which I personally find a little annoying, but which the authors or transcribers presumably feel help the program reach its (more youthful?) audience. Curiously the more contemporary works of art are, in general, accompanied by more sober and serious texts; as one of many examples, contrast the entry on Claude Viallat untitled painting and the entry on the mummy of a crocodile, where the authors laughingly point out that such sacred crocodiles had golden earrings and bracelets on its front paws: "as in a Walt Disney film.".
As Anabelle Allouch also points out, each entry includes a brief and reasonable biographical sketch, some context about the creation of the work, a full page reproduction of a work and an accompanying text which is unfortunately ocasionally pushed towards oblivion, since they are sometimes sometimes far too small and sometimes set aside by the startling, mind-grabbing text. Its a pity that the text rarely includes visual clues to help analyze or better appreciate the works themselves.
Finally, I strongly urge the reader to watch the videos of the series, which can all be found at its France 2 site.
Displaying 1 - 3 of 3 reviews